Ebook The Resurrectionist: The Lost Work of Dr. Spencer Black, by E. B. Hudspeth
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The Resurrectionist: The Lost Work of Dr. Spencer Black, by E. B. Hudspeth
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Philadelphia, the late 1870s. A city of gas lamps, cobblestone streets, and horse-drawn carriages—and home to the controversial surgeon Dr. Spencer Black. The son of a grave robber, young Dr. Black studies at Philadelphia’s esteemed Academy of Medicine, where he develops an unconventional hypothesis: What if the world’s most celebrated mythological beasts—mermaids, minotaurs, and satyrs—were in fact the evolutionary ancestors of humankind?
The Resurrectionist offers two extraordinary books in one. The first is a fictional biography of Dr. Spencer Black, from a childhood spent exhuming corpses through his medical training, his travels with carnivals, and the mysterious disappearance at the end of his life. The second book is Black’s magnum opus: The Codex Extinct Animalia, a Gray’s Anatomy for mythological beasts—dragons, centaurs, Pegasus, Cerberus—all rendered in meticulously detailed anatomical illustrations. You need only look at these images to realize they are the work of a madman. The Resurrectionist tells his story.
- Sales Rank: #12263 in Books
- Brand: Brand: Quirk Books
- Published on: 2013-05-21
- Released on: 2013-05-21
- Original language: English
- Number of items: 1
- Dimensions: 10.80" h x .90" w x 7.80" l, 1.80 pounds
- Binding: Hardcover
- 192 pages
- Used Book in Good Condition
Review
“Color us captivated. This collection seems a treat for anatomy enthusiasts and creaturephiles alike."—io9
“E.B. Hudspeth’s The Resurrectionist is PFA (that’s pretty freaking amazing)”—ComicsBeat.com
“These detailed and fantastical drawings will intrigue any reader curious about the hypothetical anatomy of mythical creatures such as mermaids, minotaurs, and harpies. In the context of the story that precedes them, they prompt disquieting thoughts about the extreme lengths to which the fictional Dr. Black may have been willing to go to prove his assumptions, and what—or who—may have served as his models.”—ForeWord Reviews
“…a bit of Charles Darwin and a bit of P.T. Barnum.”—Inked Magazine
“Doctors Moreau and Frankenstein should make room for a new member of their league of extraordinarily grotesque gentlemen, for there is a new mad scientist in pop culture.”—Aaron Sagers, MTV Geek
“The vivid imagery unveiled becomes the dark fantasy response to Gray's Anatomy...”—Filter Magazine
“The book is a welcome addition to any library of dark fantasy, with its beautiful portraiture and gripping description of a man’s descent into perversity.”—Publishers Weekly, “Pick of the Week”
“Disturbingly lovely . . . The Resurrectionist is itself a cabinet of curiosities, stitching history and mythology and sideshow into an altogether different creature. Deliciously macabre and beautifully grotesque.”—Erin Morgenstern, author of The Night Circus
“A masterful mash-up of Edgar Allan Poe and Jorge Luis Borges, with the added allure of gorgeous, demonically detailed drawings. I’ve never seen anything quite like The Resurrectionist, and I doubt that I will ever forget it.”—Chase Novak, author of Breed
About the Author
E. B. HUDSPETH is an artist and author living in New Jersey. This is his first book.
Most helpful customer reviews
3 of 3 people found the following review helpful.
A Gray's Anatomy of Fictional Creatures
By benjamin bannister
What intrigued me about this book was the concept: a collection of "lost work" by a doctor who kept detailed records and anatomical analysis of imaginary creatures.
— BIOGRAPHY —
The first part of the book is a biography of the fictional Dr. Spencer Black. It reads like a real-life account of his life and his fascination with the anatomy of bodies, dissection, and attempting to recreate imaginary creatures. The tone of the book is a little creepy, and reading it at night with one light on is almost equivalent to reading a scary story at night.
— CODEX —
In the second part, it's a collection of sketches of mythical/imaginary/fictional creatures. There is a drawing of what they look like "normally", and then there is a sketch of its bone structure, which goes into a depth of detail similar to Gray's Anatomy. Less detailed, but enough.
— SUMMARY —
I enjoyed this book. I think the author could've created more detailed and realistic sketches and expanded the mythology of the doctor even more. Recommended.
0 of 0 people found the following review helpful.
A Gothic Winner!
By KEM
The spectacularly gothic cover of this book caught my eye.......and once I read about it, I decided to take a chance and buy myself a copy, if for no other reason than the spectacular illustrations of fantastic creatures' skeletons that it promised.....FANTASTIC is indeed the right word for this tome!
The book is set up like a casebook, with the first half devoted to replicating a [fictional, alas] sketchbook of creature skellys. They are beautifully rendered, and are the real selling point of the book. I have put this out as the top offering of a pile of similar books on a side table in my gothic-styled library at home, and every single person who has stopped by since has sat down with this, fully engrossed in the exquisite illustrations.
The second half of the book is a supposed journal of the scientist who discovered and created creatures like these. It is an engaging work of fiction, quite pleasant to read......like a peek into a crazed scientist's mad activities.....but the glory of this book lies in the illustrations themselves. How I wish I could purchase larger versions of some of these......I would frame them and hang them all about my [admittedly quirky] gothic mini-manse.
If you are into fantasy, gothic interests, dark literature, Victoriana of all sorts, steampunk, and the like.......this is the book for you!
1 of 1 people found the following review helpful.
Hybrid Art Forms in Man: At what point does "man" begin and "animal" end?
By S E Lindberg
"The Resurrectionist: The Lost Work of Dr. Spencer Black" opens with a dense, interesting narrative: the biography of the dark protagonist. Readers tend to get bored with extended narratives, so this introduction is appropriately short. It is a compelling setup, of course, for the illustrations (the latter 2/3rds of book). The author sets the horrific tenor here, enticing the reader to share the excitement that Spencer feels for defining the human condition. Only sensitive readers will cringe at the horror since author E.B. Hudspeth is tactful in his delivery of the macabre. He, like his character Spencer, merely wants to set the readers "free." True to the role of speculative fiction, he presents art that appears real...then lets the reader ponder the boundary between fact/fiction. The below quote from Spencer seems to echo Hudspeth's motivation:
"I hear them marvel at my work--my indignant science. I hear them call out in fear of what they see. And there are some gentlemen who doubt what I will tell them. They call me a liar and a charlatan or a quack. But in time the methods of science that I now employ to convince people will surely set them free--alas, this I cannot explain to the angry fools."
The setting is ideal for redefining the nature of "man." The turn of the 19th century was rich with advances in evolutionary theory, science, and even speculative fiction. Anatomists, philosophers, and scientists ruminated on how far to extrapolate Darwin's assertions. Most understood that all vertebrates shared a common skeletal structure; but if animals and man were connected in their development, was it not reasonable to reconsider the existence of creatures termed mythological? Were centaurs real? Harpies? Demons? Spencer Black needed to know. Hudspeth uses him to lure us on this quest.
There are real life analogues to the fictitious Spencer. Ernst Haeckel (1834-1919) comes to mind. A dedicated, philosophical scientist with outstanding artistic skills, he documented thousands of life forms and published his beautiful plates in "Art Forms in Nature" (translated from German: Kunstforman der Natur). But then his fascination with Art-Nature caused an uproar when he tweaked his drawings of embryos in 1874. Haeckel envisioned familiarities across the embryos of fish, salamanders, turtles, pigs, rabbits, and humans; then he represented these in an evocative table. At a time when photography was not practiced, data was art...and vice versa. Some still claim his drawings were legitimate, but in any case, his artistic embellishments stirred a controversy. That controversy is the same the Hudspeth delivers:
At what point does "man" begin and "animal" end?
The fictional Spencer Black is more corrupt than the real Ernest Haeckel, but now their books share space on my bookshelf. I recommend the hardcopy so you can use it as coffee table book. The anatomical drawings of mythological creatures will certainly entertain and inspire.
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